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"The classical view, said Gilbert Murray, is "the view of a man whose training and tastes lead him to regard literature as one, and the great Greek and Roman writers as central forces in it." Now, though justice may have been done to Greek and Roman drama itself, many of us have only the haziest notion how the tradition continued. In performance it is possible that there was an unbroken tradition from ancient days to the commedia dell'arte in the sixteenth century. The commedia in turn laid the basis for modern comedy. Yet the dramas enacted by the Italian comedians remain unknown because they survived only in unreadable scenarios. For the present volume Leon Katz has made a conjectural reconstruction of the complete dialogue of one such scenario. While the players maintained the classical tradition before a popular audience, the writers revived Roman comedy for a courtly audience. Machiavelli's Mandrake is the crowning achievement of the revival. There was no Chinese wall between the popular and courtly traditions. Such a writer as Beolco belongs to both, and later the mingling of elements will be a matter of controversy. The greatest of the feuds was between Goldoni and Gozzi in the eighteenth century. The paradox is that, in retrospect, Gozzi, who championed the commedia, seems the more "literary" and "academic," while Goldoni, the supposed reformer, if not abolisher, of the commedia, can plausibly be presented by modern scholars as its restorer... The question: What is Theatre? arises at this point, and the best purpose this collection can serve is to make the reader ask such elemental questions. As in the engravings of Callot, we find in these texts the essence of dramatic art." --
First published in 1957. Besides tracing the history and development of the Peking Theatre, this volume explains acting techniques, stage costume and symbolism, musical forms and the various types of plays.
Theatre was made for children. With their fertile imaginations and their honest ability to be carried away by a story, they are the best audiences that directors, actors, and playwrights could ever hope to encounter. They also represent the future of the arts. Theatre for Children is a collection of new and classic plays for children. Adapted from some of the most beloved stories in children's literature, such as Roald Dahl's The Witches, The Great Gilly Hopkins, and Dr. Seuss' How the Grinch Stole Christmas, as well as original plays, this anthology brings together new and overlooked plays that children are sure to love. Theatre for Children is an invaluable resource for directors, teachers, and students of theatre. Foreword Country Mouse and the Missing Lunch Mystery by Sandra Fenichel Asher Ernie's Incredible Illucinations by Alan Ayckbourn Two Donuts by Jose Cruz González Dr. Seuss' How the Grinch Stole Christmas by Timothy Mason and Mel Marvin A Laura Ingalls Wilder Christmas by Laurie Brooks Braille: The Early Life of Louis Braille by Lola H. and Coleman A. Jennings Bless Cricket, Crest Toothpaste, and Tommy Tune by Linda Daugherty The Great Gilly Hopkins by David Paterson and Steve Liebman The Witches by David Wood Mississippi Pinocchio by Mary Surface and David Maddox The Wolf and Its Shadows by Sandra Fenichel Asher Ezigbo, The Spirit Child by Max Bush and Adaora Nzelibe Schmiedl Inuk and the Sun by Henry Beissel A Village Fable by James Still The Witch of Blackbird Pond by Y York